Sunday, February 28, 2010

Giorgio Moroder's work with synthesizers during the 1970s and 1980s had a significant influence on new wave, house, techno and electronic music in general. (His influence on the mustache is a whole other story.)

I discovered this group of friends (Brits) jamming based on a tweet from poker player/rapper "spiritrock" aka Prahlad Friedman. Has that indy/alternative vibe thing going on, but the girl, Miss Al Brown has a sweet voice. Apparently Miss Al likes hats hence the name. According to the group:

House of Hats are a group of friends and musicians. We got together, set up one microphone, set up the inbuilt mac video recorder, pressed record and jammed a song we'd written ... this is it, first take, hope you enjoy it. You can expect more of this kind of stuff, so feel free to follow us on twitter/facebook/youtube :) H.o.H.

A foreseeable issue with the name as there is an Irish band calling themselves the same thing.

Mail order begins today 2/27/2010. All "seats" are General Admission. Public sale is March 5th 2010 at 10 and 11 AM and 12 Noon depending on venue, except Allgood Music festival and Nateva Music and Arts Festival which are currently on sale now. For more info see FURTHUR.net

Friday, February 26, 2010

I worked with DavidAron from Dead Videos on this. I uploaded all my footage from the 2/20/2010 FURTHUR show at Utica Auditorium I shot over to his server and he replaced my fuzzy audio with the near perfect AUD (audience recording) done by taper Chris Laporte. Not sure how David works his magic but that's his day job.

This is the first of the remastered/synced video's. Thank you to all you sent me emails, tweets and commented on the video's I appreciate the feedback. I made a few folks really happy and excited to go out and see FURTHUR. Sharing live music is what it's all about isn't it?

Next weekend I hope to get some great footage of the Mike Gordon Band when they play Revolution Hall.

Last night I followed the recommendation of our friend Carrie in Tahoe to check out Seth Bernard and May Erlewine at Cervantes Other Side. Carrie sold the show as "a night of lyrical mastery and poetic harmony instead of raging face." I couldn't have said it better. I loved the harmonies and Seth and May changed up guitar sounds and instruments enough to always keep it interesting. If you are in Utah, Tahoe, NorCal, or Oregon, make sure to check them out!

I read this week that 1970s power-pop band Big Star will be playing at South by Southwest, the mega-music-festival-cum-record-label-schmoozefest that takes place every March in my former adopted hometown of Austin, Texas. I left Austin twelve years ago. Despite the promises we made to each other when we first rolled into town that we’d stick together come hell or high water, SXSW decided to hang its hat in the capital city when I departed. Believe me when I say that it’s been a sticking point between us ever since.

Big Star is one of those bands that reminds me of a line I remember reading a long time ago about the Velvet Underground. Hardly anybody bought the Andy Warhol-produced Velvet Underground & Nico, the line goes, but everyone who did started a band.* Well, the boys from Memphis never hit the super big time back in the 1970s but the three records they released have influenced a wide range of artists ever since. If you need any evidence to back that up just consider the range of artists who have covered the band’s songs in the intervening decades: Whiskeytown, Cheap Trick, The Afghan Whigs, Okkervil River, Garbage, The Bangles, Wilco and Elliott Smith** have all had a go at Alex Chilton et al.’s discography at one point or another.

I could go on all day about Big Star but there’s not much point because a) countless others have done it before me, and b) they’ve done it better than I could. Instead I’ll tell you about Sixteen Deluxe, a band from Austin, Texas, who remind me of Big Star for a number of reasons.

Reason #1: The most obvious - Sixteen Deluxe once recorded a gorgeous, spaced-out cover of “Kangaroo,” a track off Big Star’s Third/Sister Lovers, that closed out their 1995 debut album, Backfeedmagnetbabe, released on Trance Syndicate Records.

Reason #2: Much like Big Star, Sixteen Deluxe is reuniting and playing at this year’s SXSW.

Reason #3: Least importantly, but perhaps significant in some sort of cosmic sense that I can’t grasp, I actually heard the news about Big Star playing SXSW from Jeff Copas, Sixteen Deluxe’s bassist.

Reason #4: This one’s the key - just like Big Star, Sixteen Deluxe could’ve been huge but never were.

When I first remember seeing the band play live at a benefit for local college radio station KVRX in September of 1994 ($3 at the door!), Sixteen Deluxe consisted of Chris “Frenchie” Smith (guitar/vox), Carrie Clark (guitar/vox), the aformentioned Mr. Copas (bass) and K.C. Rhodes (drums). The first three were the core, while Rhodes filled the role previously held by Bryan Bowden and Lyman Hardy of Austin psychedelic outfit Ed Hall. Eventually Steven T. Hall would take over the drums and stay until just before the band broke up, but the rest of the lineup was the same for the duration of Sixteen Deluxe’s existence.

What characterized them? First, they were loud. Really loud. Seriously. Typical 16D apocrypha from that era involves people walking out of Emo’s with their ears bleeding. I never had that happen myself in the dozens of times I saw them play live; there may have been a little bit of pedestrian, next-day muffling and perhaps some permanent hearing damage, but never any blood. I can, however, testify that their live sets were tailor-made for the psychedelic scene in Austin. All sorts of colored and strobing lights, smoke machines and the occasional avant-garde film loop projected in the background background combined with the aforementioned volume to make a great place to wait for a flying saucer to pick you up.

And then there was the gear - oh, the gear! We’re talking serious psychedelic analog guitar heaven. Fuzzy fuzz, sweet delays, phasers and tremolos and wahs and even the odd E-bow thrown in to liven things up. There were at least ten times as many effects pedals on the stage as there were living, breathing members of the band - and in a sense all those effects were the band’s Fifth Man, lending that necessary component of the sound that made the music what it was. From the woozy intro of “Babyheadrush” to the manic menace of “Mexico Train,” from the sweet sludge of “Honey” to the spacey bliss of the last four minutes of their version of “Kangaroo,” Sixteen Deluxe covered a lot of sonic ground that couldn’t have even been contemplated without all those pedals.

There were actually some folks in mid-90s Austin who like holdouts from Newport ‘65 knocked Sixteen Deluxe for its guitarists’ - how shall I put this? - aggressive fondness for gear, as if music can’t be created on anything other than an untouched acoustic instrument. Other people knocked them because everyone else touted them as Austin’s Next Big Thing, or because they had a video on 120 Minutes, or because an MTV series used 16D's hooky "Idea" as its theme song, or because they got signed to a major, or because they weren’t playing the right kind of music, whatever that is. All those specific complaints matter today like so much middle-school gossip. Every band has its detractors and the fact of the matter is, you either love the kind of sweet noise that a band like 16D makes or you don’t. In mid-90s Austin there were a lot of people who did.

I always told Jeff back then that I thought Sixteen Deluxe had everything they needed to be the next big thing. They wrote solid pop songs that still had a serious rock sensibility thanks to a solid rhythm session. Their sound, a snappy fusion of shoegaze/space rock and power pop with just the right occasional touch of snarl, was unlike anyone else recording at the time. Every band with any kind of space-rock credentials who rolled the capital city back then - The Flaming Lips, Medicine, Mercury Rev, Stereolab, Swervedriver, and countless others - seemed to have Austin’s Next Big Thing as their opening act. And at a time when indie cred seemed to go a long way in paving the road to success they had plenty of it, coming as they did from Austin and having released their first album on the record label owned by the Butthole Surfers’ drummer, King Coffey. Along with bands like And You Will Know Us By The Trail Of Dead and Spoon, Sixteen Deluxe seemed to own the town, playing whenever they wanted at Emo’s, The Electric Lounge, Liberty Lunch, and sometimes even down at the cramped confines of the Hole in the Wall on Guadalupe. Later they toured opening for Luna and The Jesus and Mary Chain, and on their own with other indie bands like Little Red Rocket splitting the bill. All that, and yet…

And yet. I still think I was right about their potential, but one of the funny things about potential is that sometimes it just stays what it already is. Getting signed by Warner Bros. could have been the beginning of something big, but it turned into one of those standard 90s “indie band gets snapped up by record company” stories where the band’s major label release (in this case the solid Emits Showers of Sparks) didn’t light up the charts like the second coming of Nevermind. They weren’t shown the door in the manner of, say, Spoon after Elektra released A Series Of Sneaks, but by ‘98 it was clear the relationship wasn’t going anywhere and the band asked to be released from its contract. WB agreed. 16D put out a few more indie label releases after that but when Steven called it quits the drummer’s spot began to become the revolving door it had been before his arrival***. When Carrie left the band in 2000, Sixteen Deluxe was no more.

No more, that is, until this year. There was a time when 99% of bands disappeared forever once they broke up, but thankfully we live in an age where the reunion tour is alive and well and no longer reserved for arena rock dinosaurs. The internet is a greenhouse for the fanbases of old indie favorites like The Pixies, Pavement, Big Star and, yes, Sixteen Deluxe, bands who are now given the chance to reconnect with not just long-time lovers of their music but also the others who have come along in the intervening years, people who sometimes weren’t even born until long after the music had been forgotten by all but the die-hards and used-record-bin scavengers.

There’s a certain love that kind of latecoming fan has, a love that isn’t attached to record reviews or how cool scenesters think a band is or whether they’ll get laid if some hot chick finds out they’re a fan. It’s all about the music, and that’s as beautiful a thing as there is. I know there are at least a few of those fans out there, if for no other reason than SPIN Magazine naming Sixteen Deluxe one of the ten Greatest Bands You’ve (Probably) Never Heard last year. I hope the latecomers fill themselves up on everything they missed in the mid-90s, and then some, when 16D takes to the stage on March 13th at The Mohawk in Austin, and not too much later at SXSW. I’d be right there soaking it all up with them if I could.

* - Big Star actually recorded a version of “Femme Fatale” off Velvet Underground & Nico in 1974.

** - Smith’s delicate solo acoustic rendering of “Thirteen,” recorded for the soundtrack to Mike Mills’ film Thumbsucker, was one of the very last things he ever recorded.

*** - An old high school classmate of mine, Sean McFalls, actually ended up becoming Sixteen Deluxe's last official drummer of record. He and I once made an anti-drug video for a group project in health class, the plotline of which involved my miniature schnauzer abusing inhalants and running over Gumby with a pickup truck. True story.

Tuesday, February 23, 2010

This one clocks in at a full 15 minutes and was too large for You tube so I uploaded it to Vimeo. Jeff Chimenti is playing Brent Mydland's old B3 look closely and you'll see outlines of the stickers that adorned the B3 from Brent's time as well as a familiar Stealie.

Jeff had his back to me most of the time while on piano but when he moved to the organ I had him in perfect profile pretty much directly in front of me. He was so close I could just about touch the B3.

Monday, February 22, 2010

We're excited to present a live stream of Trey Anastasio and Classic TAB's performance from the Pageant in St. Louis, MO Tuesday night, February 23, 2010 at iClips.net. The show starts at 8:30PM EST and will stream in its entirety, absolutely free.

Trey and Classic TAB features the same lineup from last fall, with the addition of horns back into the mix. The tour is receiving rave reviews along the way.

The septet is performing material spanning Trey's solo career. The band spent a great deal of time in rehearsals, adapting the arrangements to suit the current configuration and working on several brand new compositions. Classic TAB has always functioned as a breeding ground of sorts, with many of its songs eventually crossing over into Phish's repertoire.

Trey Anastasio and Classic TAB will be at the Ryman Auditorium in Nashville, TN on Thursday 2/25, The Fillmore in Charlotte, NC on 2/26, The Tabernacle in Atlanta, GA on 2/27 and The Tennessee Theatre in Knoxville, TN on 2/28 to close out their tour. Tickets are on sale now.

•First Tube was used in the bump to a commercial about the upcoming bobsled competition on 2/20/10.

•Tweezer Reprise (a good 2 minutes worth!) was the background music for the Ohno speedskating segment late on 2/20/10. LINK

•Kill Devil Falls (the version from Joy) was played over the PA at the Canada vs. USA men's hockey game 2/21/10, with about 15 seconds left in the first period. They played about 20 seconds of the chorus before the puck was dropped again. Axilla (Part II) was played with about 8 minutes left in the second period at the same game.

Sunday, February 21, 2010

Let's face it The Dead tour of last year was a bit of a snooze fest. I enjoyed the one show I saw but it lacked energy and the transitions were rough. I almost fell asleep during drums/space and I normally really get into the rhythm devils time in the spotlight. But it was great to see all the surviving members play together for perhaps the final time if not a nostalgic trip down memory lane. I figured Ratdog, Phil and Friends and BK3 would suffice in the future.

The Other Ones had too many people on stage with dueling Keyboardists from Phil and Bobby's respective bands. Jimmy Herring was great in Jerry's role on guitar but he doesn't sing. Warren "the hardest working man in rock and roll" Haynes was called on for two tours to fill Jerry's shoes. Some deadheads felt Warren was trying to steal thunder, others felt he overpowered Jerry's chops. I love Government Mule and the Allman Brothers but Warren is a completely different sound then Jerry.

Finally its all come together. This time Phil and Bobby tapped John Kadlecik of Dark Star Orchestra to fill the tall shoes of Jerry Garcia. Close your eyes and listen to the voice and you'll here Jerry's distinctive warble. The rest of the line-up consists of Ratdog's Jeff Chimenti (who actually uses Brent Mydland's old B3 organ) on keyboards, Jay Lane also from Ratdog drums and Joe Russo from Benvenuto Russo duo on drums.

I headed up solo as BFF Kim forgot it was winter break for her youngest and had a weekend in Boston planned before she got sick. I hit the lot at about 4 PM and wandered shakedown street. It was spitting snow and a rather miserable damp day. I did and inventory ala Dr Pauly but failed to get prices. I was recognized by Saratoga Chef Scotty while on lot and enjoyed his Pasta Fagioli with garlic croutons but no one had a garlic grilled cheese for me!!! I bought an awesome new tye-dye from Not Fade Away located in Woodstock NY which will be a subject of another post.

Oh yeah, I went armed with my little Flip Camcorder I purchased that day. After seeing the Olympians sporting them I figured It would be a great way to capture some great live music.

As soon as the doors opened at 5:30 PM i headed in and was able to get right up on the barrier right in front of Phil's mike stand and Jeff's keyboard. Jeff would have his back to me most of the time when on piano but when he switched to the B3 he was looking down on top of me and as I was focussed on him during China Cat Sunflower I got a hair toss and he looked right into the camera!! The coolest thing was being in front of Phil. When he came out I waved and he smiled. And I swear during Unbroken Chain he sang to me and those smiles you will see were for me. Sure I've been right up front before many times but never with a camcorder.

I had cool people around me. A Psychiatrist from Buffalo and his lady friend/wife on my right, and a young group of guys and the girlfriend of one of them on the other side and behind me. After first set they left and were replaced by April and Brian: friends I've never met. A big thank you to April for filling in the only blank on my set list: Magnolia Mountain. I had never heard it but apparently it is a Ryan Adams tune that the Dead performed only when Joan Osbourne was with them and I think Phil and Friends has done.

Set 2: China Cat Sunflower > The Wheel > I Know You Rider > Magnolia Mountain, Unbroken Chain > Comes A Time > Goin' Down the Road Feelin' Bad > Touch of Grey, And We Bid You Goodnight E: One More Saturday Night

Notes: The Good Morning Little Schoolgirl is not the raunchy PigPen bluesy version which I prefer but the Ratdog/Bobby version. Bobby sounded really strong on Dear Prudence the one song I wish I had recorded and didnt. He was clearly enjoying himself on Satisfaction. I hadn't heard Foolish Heart in forever and a day. That tune was a constant in my busiest touring year of 1988 along with Victim or the Crime, Touch of Grey and Throwin Stones. I was happy to hear it. My battery ran out of juice 6 minutes into recording Unbroken Chain but the jam at the end was awesome. They nailed it with their instruments (the sound is a little fuzzy). Phil literally looked right into my eyes/lens and I want to think those smiles are for me (about 37 seconds in the first time). April and I blew him kisses at the end. Bobby still had the black t-shirt on he sported last year, plus Man-pris and his trademark birkies. I don't think i ever heard Reuben and Cherise performed by the Grateful Dead. I had named this blog post with lyrics from THE Wheel long before I knew they would play The Wheel. When I looked at the two female backup singers I said that looks like Annabelle Garcia, much to my surprise it is her half-sister Sunshine. Listen to John Kadlecik on Comes A Time/Foolish heart and you hear Jerry. In fact he could be Jerry's cousin.

I saved a young deadhead from face planting. One minute he had his head down texting during intermission the next time I looked he was rocking on his shoes doing the big nod. Twice I had sloppy drunks try to converse with me. I nodded a lot and smiled. One asked me if I was going to go out to the bar on the way out. I have no idea what bar he was talking about, nor did I know him. The nitrous mafia were vending hippie crack right on the sidewalk across from the venue about 20 feet from my car. While on the other side of the road a deadhead was screaming/pleading to deadheads not to buy it. I had more then enough opportunity to 4 wheel drive over several people who stupidly veered in front of my car while taking hits off balloons.

I've uploaded three video's already to you tube of the 5 I can upload to there. The China/Wheel video is 15 minutes long and too long to upload there. I'm irongirl99 on you tube. they can also be viewed at Deadvids.com.

In the old days we chanted: Let Phil Sing. Last night I said Let Phil sing to me and he obligied so I leave you with UNBROKEN CHAIN

Trey in cheeseland. Not as many wooks in Milwookie as you'd think. Trey revised the solo acoustic shtick including Faulty Plan.

2/18/10 - Pabst Theatre – Milwookie, WI

Set 1: Shine, What's Done, Push On Til the Day, Let Me Lie, Sleep Again, Birdwatcher, Valentine, Cayman Review, Gotta Jiboo, Sultans of Swing, Stealing Time From the Faulty Plan**, Water In the Sky**, Back On the Train**, Bathtub Gin**, Backwards Down the Number Line**

Thursday, February 18, 2010

"Possible Phish concert in Telluride August 9 & 10, 2010, book hotel now at www.telluridehoteldeals.com "

This simple statement started wild speculation and debate over the possiblity of Phish returning to Telluride. Telluride is one of the most magnificent places in the country (if not the world) and to see Phish there is a dream of many.

PT user Granpa Posted the following message:

02/17/10 4:34PM ET

So heres the scoop,

The meeting to discuss it was canceled today, they will have to first get approval from Telluride Jazz fest because the concert will be on the heels of that event. It will be produced by AEG and Planet Bluegrass and will be maxed out at 9000 tickets. Bluegrass fest allows closer to 12,000 but AEG only asked for 9000. If it is passed by the Jazz board then the parks board will have to pass it, then it will go in front of CASE, and finaly at that point council will have to approve it.

It isnt looking to likely but it could happen, they will be discussing it tonight on our local radio news show. If you want to tune in its at 6pm mtn time on KOTO.org

The radio show discussion sounds very optimistic about this event happening. You can listen here.

UPDATE:

Here is what we know:

* The event is being produced my Planet Bluegrass and AEG.

* The setup will be a carbon copy of how they run the bluegrass festival (Stage in Town Park).

* LODGING: All hotels, motels, etc are aware of the Phish show. They are all requiring a 3 night minimum and money down. Rates are being raised for the event and will be comparable to the Bluegrass Festival rates. CANCELATIONS will be charged a 1 night MINIMUM. There will be a lottery for camping that is supposed to be done thru Phish. Mountain Village will be the cheapest place to stay (apparently you have to take a gondola to-and-from the lodging - but the gondola runs till 2am)

* Jazz fest is the week before and who knows, Phish may arrive early and sit in at Jazz Fest.

Monday, February 15, 2010

Thievery Corperation, Massive Attack, Tosca, Zero 7, Bonobo, etc... This is some of the best music I own. I can now add another group to that list of similar downtempo, electronic artists, called The Dining Rooms. Having one of the worst names I have ever seen, The Dining Rooms is made up of two producers named Stefano Ghittoni & Cesare Malfatti. The duo's musical journey started in 1998. Since then they have released 9 albums, the latest being released in 2007. The music does not fall under a specific genre, blending ambient, electronic, and jazz. Check out the video below, and if you like what you hear, download the Essential Dining Rooms Mix that I have put together.

Sadly, no Jay or Silent Bob cameos at the Red Bank gig. Lots of wooks, custies, and other Phishkids though showed up on St. Valentine's Day to soak up Trey's merry band. A fire alarm went off at the end of Sand resulting in a minor delay as the band exited the stage in a NOLA-style parade.

Sunday, February 14, 2010

Thanks to Benjo who pointed out this article in New Yorker Magazine about Lady Ga Ga. apparently, Big Red is a fan (or more likely, his teenage daughters are and begged their Dad to take them to see Ga Ga) and was spotted at one of her shows in NYC...

Inside the hall's Art Deco lobby, club kids and drag queens mingled with Trey Anastasio, the guitarist from Phish, and Donald Trump. A five-year-old girl in full Gaga regalia—black unitard, big sparkly shoulder pads, blond wig, and rhinestoned biker'’s hat, a sort of JonBenet Ramsey of pop—posed for pictures like a pro... More

Trey mingling with Donald Trump and drag queens? Or was it really Chuck Norris checking out Lady Ga Ga?

Funny thing is... I work in the poker industry and everyone has been talking about Lady Ga Ga's epic smash hit Poker Face. I heard it for the first time in Miami (during the Phish shows) when I drove from the airport. No bullshit. I thought Lady Ga Ga was a tranny. Had no idea she was an actual female... with a vag.

In the summer and fall of 2005, three young black musicians, Dom Flemons, Rhiannon Giddens, and Justin Robinson, made the commitment to travel to Mebane, N.C., every Thursday night to sit in the home of old-time fiddler Joe Thompson for a musical jam session. Joe was in his 80’s, a black fiddler with a short bowing style that he inherited from generations of family musicians.He had learned to play a wide ranging set of tunes sitting on the back porch with other players after a day of field work. Now he was passing those same lessons on to a new generation.

Hit 'Em Up Style, originally performed by Blu Cantrell

I found an amazing live performance they did in Granville, Ohio at Centenary United Methodist Church, which includes their own rendition of Goin' Down The Road Feeling Bad.

Wednesday, February 10, 2010

I am teaming up with Ryan from Hidden Track on the LOST recaps. Check out Ryan's full review and discussion. Each week we will try to put together a fun recap in the form of a Geronimo Jackson setlist. Check out what we came up with this week:

The Joker and I were at the famous Quixote's here in Denver this past weekend checking out The Motet, but found ourselves blown away by the young talent from another band playing that night called Zobomaze. These guys look like they're still in High School and play like they have been in a professional Jamband for 20 years. Their style is nothing cutting edge, but I hear influences that remind me of TAB, Herbie Hancock, Bela Fleck, etc. These kids can jam the funk!

You can download their album for free from their website. I've listened to it a few times now, and keep thinking to myself, "Man, I can't believe these guys are so young..." To be able to comprehend the type of music that they do, and play it so well is very impressive. The members of Zobomaze have that special something that remind me of legends such as Steve Winwood or Jimmy Page who started out in their teens blowing everyone away.

Sunday, February 07, 2010

Tear-jerking piece from ESPN about Patrick Henry Hughes, a member of the Louisville Marching Band. Hughes was born blind and unable to walk. Yet, that did not deter him from becoming an accomplished musician.

Saturday, February 06, 2010

My brother pointed out an article on ESPN that included random celebrity Super Bowl picks. Bob Weir from the Grateful Dead was among the 100 celebrities in the poll including Peter from The Brady Bunch, the kid who sees dead people, and Shaq. The majority of celebs picked the Indianapolis Colts to defeat the New Orleans Saints.

Interestingly enough, Bobby Weir went with the New Orleans Saints, even though the Colts are a 4.5 point favorite (the line opened at 5.5). Most musicians are pulling for the underdog Saints in this year's Super Bowl. It is important to mention that in 1970, 19 members of the Dead and their road crew were arrested in New Orleans for possession of marijuana and other narcotics. The drug raid conducted by New Orleans police inspired the lyrics to Truckin'. Even with the shakedown, Bobby still went with New Orleans in this year's Super Bowl.

FYI... the halftime guest at this year's Super Bowl is The Who. That would have been cool like 25 years ago.

In case you were wondering (since I'm the in-house gambling guru at Coventry), I bet New Orleans and the money line and with the points. I have a gut feeling about the Saints and I'm not just saying that because I'm a bitter Jets fan and Indy stomped my hometown team. I definitely feel weird about fading Maya Angelou's pick. She's betting her entire I Know What the Cage Bird Sings quarterly residual check on the Colts. And Phil Ivey? The best poker player on the planet wagered $2 million on the Colts.

This episode is 44 minutes and 25 seconds of 10th-generation genre-re-wiring, exploring bass music through an open-minded lens, regardless of tempo, or even beat-structure… this sound clash aims straight for your body, with the intent to melt you down into a fidgeting, wobbling mess of enthusiasm and delight. In addition to some of my favorite old records and samples, this mix features several brand new Bassnectar tracks, heaps of exclusive edits, re-edits, and re-re-re-edits. Lot’s of re. Lot’s of mix. Lot’s of edits. We tore our favorite drum & bass to shreds, injected hip hop with some pogo-stick bass, amped up the tempo of dubstep, freaked out the gypsies, gave a nod to the dreamy 80’s and ended up similar to where we started off: omni-tempo maximalism strikes again.

Set 1: Shine, What's Done, Push On Til the Day, Let Me Lie, Sleep Again, Birdwatcher, Valentine, Cayman Review, Gotta Jiboo, Sultans of Swing, Stealing Time From the Faulty Plan**, Water In the Sky**, Back On the Train**, Bathtub Gin**, Backwards Down the Number Line**

This is a Greatest Hits, so there's not a clunker in the bunch, but special attention should be payed to a few tracks. Quoting John Cusack once more, "you gotta kick off with a killer, to grab attention. Then you got to take it up a notch, but you don't wanna blow your wad, so then you got to cool it off a notch. There are a lot of rules." I began with 'When The Music Don't Come' - a 'killer' track from the Love Is Hell sessions that almost became the title of this little compilation. It would've worked well as appeasement during Ryan's sabbatical before he recently decided to begin releasing music again. I took it up a notch with 'Walls' - the country-est tune in the bunch. To cool it off, I offered 'Dear Anne,' which is probably the most touching song here. Written as a letter to Anne Frank, it asks how Anne's fate came to be, and thanks the biographer for her words, whether or not they were his to read. Leading you back into heavier music is 'Born Yesterday' with its plodding tempo and passion-laden vocals. 'Madeline' lathers some sultry piano and blues guitar on the mix with a Huck Finn-esque river song. To end side one, I used the last track from the First Pinkheart Sessions. Just Ryan and his piano, the song doubles as a sort of midway interlude, fittingly mentioning that "its been so long for just half-over."

Side B reads much the same, highlighted by 48 Hours and Swedish Session songs. 'Friendly Fire' delicately tells of how relationships often come with the casualties of war. With the harmonica-driven attitude reminiscent of Heartbreaker's opener, 'Poor Jimmy' picks thing up in the middle. One of my all-time favorite songs, 'Poison & The Pain' gives off an eerie feel with Ryan providing his own sparse backing vocals and hand claps. The second side again ends simply, this time with a softly-picked guitar accented with the low end of a piano. 'String & The Wire' is a desolate song that Ryan once said of in a live show: "it’s really long and really totally boring, so if you need to get a drink or something, this is the best song to go." Not boring at all, it's simply soothing. And that's my idea of the perfect album-ender.

I loved the episode(s) last night. I won't spoil anything here, but would love to discuss it with you. I have started a thread at the Jam Cruise forum- it requires registering but I think its a good place to discuss it with like minded people. LINK.

This summer The String Cheese Incident will perform a handful of “Incidents” including their greatest hometown venue, Red Rocks Amphitheatre, on July 23, 24, and 25, and then set up camp at Horning’s Hideout on July 29 through August 1. This announcement ends a three-year break from performing; a hiatus interrupted only once - this past summer- when SCI united to headline ROTHBURY 2009 for one incredible Incident.

Monday, February 01, 2010

Feb 2 is tomorrow. Rumor has it that SCI will be announcing some dates. It is Groundhog Day. The final season of LOST premiers.

Our friends over at Hidden Track put together a very entertaining post pairing LOST charracters with Phish songs. Check it out.

one of my favorites:

Jack – Fluffhead

“He’s sure got some powerful pills, oh yeah.”

Certainly, we all expect a big heroic ending from Jack in the final episode akin to the climax from Fluffhead, whereby he saves the Losties and squares off against the Others. But in our mind, Jack’s finest hour came as Future Jack when melted down, grew a playoff beard, and got hooked on Brett Favres.